On Site review
search

on site review group

back issues

34: on writing

33: on land

32: weak systems

31: mapping | photography

30: ethics and publics

29: geology

28: sound online

28:sound links site

 

27: rural urbanism

27:rural urbanism online

 

on site 26: DIRT onlineonsite 25: identity online

onsite 24: migration onlineonsite 23: small things online

read onsite 22: WAR online

On Site 22: WAR has sold out in the print version, but you can read it online

read onsite 21: weather online

read onsite 20: museums and archives onlineonsite 20 individually archived articles

onsite 20:museums and archives has sold out in the print version, but you can read it online

read onsite 19: streets onlineOn Site 19 has sold out in the print version, but you can read it online.

onsite 19 individually archived articles

read onsite 18: culture onlineonsite 18 individually archived articles

onsite17 individually archived articles

Entries in Latin America (3)

Friday
Jun132014

Dar um Jeito, 2014

Supposedly this is the official 2014 FIFA World Cup anthem, not that dreadful piece of commercial plastic Ole Ola, which is merely the official song

I'll take this one: lots of Carlos Santana, Wyclef and Alexandre Pires.  Brilliant video.  Dar um jeito: We will find a way. Here we go. That's all we know.

Thursday
Jun122014

Maraca├▒a: O jogo bonito

Maracaña, 1950. Reinforced concrete stadium built for the 1950 World Cup, Rio de Janeiro.

In his 2004 book, Stades du Monde: sport & architecture, Angelo Spampinato listed the Maracaña stadium in Rio de Janeiro as one of the legendary temples of football. Built between 1948 and 1950 for the 1950 World Cup, it was deliberately designed to be the largest stadium in the world, seating 183,000 with standing room for 220,000.  The World Cup that year opened with Brazil-Mexico (4-0) and ended calamitously with Uruguay-Brazil (2-1).  

For 2014 the bottom tier was rebuilt, a new roof added and seating has been reduced to 79,000 with the loss of the Geral, the standing terraces. This took $735 million of Brazilian public money and then the running of the Maracaña was effectively privatised, turned over to AEG, owners of LA Galaxy and the O2 arena in London, on a 35-year contract.  A bit of controversy there.  An adjacent indigenous museum and a school were demolished.

The Maracaña is heroic in volume and history: Pele's first and thousandth career goals, thousands of match upsets, despair, elation, rock concerts, two masses by Pope John Paul.  Its original engineer was Paulo Phiheiro Guedes, working with a team of architects.  Evidently, as stadia go, it is very flat, just five storeys from pitch to the top of the top ring.  Most of the renovations are hidden: new media centre, locker rooms, auditorium, boxes. There are 1000 new parking spaces under the stadium, another 13,000 spread about the neighbourhood. Visible are new seats and the extended roof which now covers all the seats and is fitted with photovoltaic panels.  

Estadio Maracaña, opening after three years of renovations, April 2013Estadio Maracaña is one of twelve FIFA World Cup stadia, but of course its expansion is also part of the preparation for the 2016 Olympics. The World Cup is the preliminary scrubbing of Rio, which will continue for the next two years.  China was able to remove great chunks of old housing and historic infrastructure as it gives itself licence to do so.  Brazil is doing the same, without the licence.  The people are becoming obstructive, there will be delays. 

Thursday
Feb202014

Argentina's Playlist for Freedom

Part of BBC's Freedom 2014 programming: Natalio Cosoy's passionate explanation of the music of Argentina's often coded popular and folk songs during both military rule and after.  A wonderful half-hour of 'anthems to perseverance', as he says, 'what music can actually do, in terms of instilling freedom into society.'

Manifestación de las Madres de Plaza de Mayo en 1983, //diarioinedito.com/Nota/7932. Click on image to take you to the BBC page. Not ever sure how long these things are available for, but this image gives you all the tracking information.

This is an exciting series.  Here is a link to hip-hop in Africa.  For someone, me, who came to African music in the pre-African Rap late-80s, this program explains much that I had seen as neo-colonialism.  Again, it and the words were and are coded, flying under the radar of convention, tradition and military regimes.